James Crossley on the Bookseller’s Perspective, for Authors

As noted on Monday, I’m kicking off my book tour this week. Tonight I’m at the University Bookstore in Seattle with Cat Rambo and Cherie Priest. Tomorrow I’m at Willamette University in Salem, Oregon. Friday, Nov. 6, I’ll be appearing with Jay Lake, Cat Rambo, and Jeff Johnson at the Press Club in Portland–and then doing a solo reading at Powell’s in Portland on Saturday. Sunday, I’m doing a Booklife workshop at the Hugo House in Seattle, and then a lecture titled “Bookwork for Booklife” Monday night, Nov. 9, also at the Hugo House.

Today, an excerpt from the Booklife appendices, which include a variety of opinions and resources to support both your creativity and your career. James Crossley works for an independent bookstore near Seattle:

Island Books, an independent, family-run business, is one of the oldest bookstores serving the greater Seattle area, with an experienced staff that helps match readers of every age and interest to the right books, whatever they may be. We ship for free to any location in the US, but you’ll have to come to Mercer Island in person to see our collection of antique typewriters.

Here, he shares some tips for writers in their dealings with booksellers. – Jeff


(James Crossley)

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My Endurance Tour–and Book Tours in the Modern Era

As you can see by visiting the events page, I’m embarking on 28-event 35-day Endurance Tour in support of Booklife and my new novel. I’ll be hitting a variety of venues on the West Coast and East Coast, and I hope to see Booklifenow readers at many of these events. The tour also includes guest blogging, interviews in local media, engaging with local writer groups, and much more.

Booklife covers book tours, including how to conduct a virtual book tour through guest blogging and the like. But as my friend Matt Staggs and I put together my Endurance Tour, I think we both realized that the modern book tour is a complex, organic entity, the dimensions of which are even more dynamic and three-dimensional than depicted in Booklife (I can already see I’ll need to revise that section for the second edition).

Here are some thoughts just from planning the Endurance Tour. When I get back in mid-December I’ll report on how much of this I still believe in and what new ideas were sparked by the experience.

(1) Real-world events are still important because a real-world event still triggers certain responses from local media and from the blogosphere, which is especially useful for events in large cities, where local coverage can translate into national attention. (Besides, doing a reading or other gig contributes to the cultural literacy of your country.)

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The Discovery Process: Improving Your Abilities


(Afraid of bears? Maybe you need to throw yourself in a bear pit…and maybe not. Photo by Jeremy Tolbert.)

A few more thoughts about the discovery process, below. I also firmly believe that establishing goals in the right way–strategically and not tactically–will reduce your stress level as a writer and make it clear which things are important and which are not. I deal with setting goals in my book and in Booklife workshops. This fall, you can catch a full-on Booklife workshop in Seattle, a much shorter version in the San Francisco area, or just discuss these topics with me in Asheville.

How can you work on problem areas without being overwhelmed? Make a list of your strengths, your weaknesses, and those gray areas in between—things you’re not terrible at but not great at, either. Even though you’ve presumably had others help you evaluate your strengths and weaknesses to get to this stage, take this list and give it to a couple of friends or colleagues you didn’t include in your original analysis. Ask them if your list is accurate. After you’ve included their feedback, and been totally honest with yourself, do the following:

—Break the Strengths list down into subcategories, rating yourself in each, so you have a better idea of what those strengths mean. Stay aware of your strengths even as you work on your weaknesses and make sure shoring up weaknesses doesn’t negatively affect your strengths.

—Select two items from the Gray Areas list that you think you can easily improve and that would help your writing career. Make sure your short-term and long-term goals include ways to better yourself in these areas.

—Select one item from the Weaknesses list, even if it’s something that also scares you. Add elements to your short-term and long-term goals that give you opportunities to make this weakness a strength, or at least something you’re not bad at anymore.

—Select one item from the Weaknesses list that you don’t want to work on improving. This advice especially applies if something on your list scares you too much. Setting it off to the side is about preserving your mental health. You can always revisit it in the context of success with some other weakness.

Live radio interviews (which now include podcasts) fit into the category of a weakness that scared me to death. The first time I was on, I mumbled and I could hardly breathe. Because I was so nervous, I wound up saying something like “You’re as stupid as I want to be” to the host, which was meant as a joke but came off as insulting and bizarre.

The second time I was on the radio, it went fine. Until the host made a strange comment about whether or not I lived in a cave, which threw me off so much the rest of the interview entered a decaying orbit.

The third time, I got the hiccups from drinking too much coffee. I spent the whole hour making sure the cadence of my speech allowed me to turn from the microphone just as I was about to hiccup. This worked better for the interview portion than for the reading I did afterwards.

What was my particular remedy? I relied on repetition and experimentation. I just kept accepting radio and Internet podcast interview requests. I also experimented with different kinds of preparation. Eventually, the combination of finding the best way to prepare and doing more interviews made me more comfortable with the format. I can’t tell you I’m the best radio interview ever—I still get nervous—but when you hear me on the radio these days you’re
unlikely to say to yourself, “Wow! That guy was horrible.”

As for a gray area that I’ve turned into a strength, public readings fit that category. Unlike radio station show appearances, readings never scared me. However, I didn’t have a good sense of performance so my readings were serviceable but nothing to excite anyone. Over the past few years, I have worked hard to add an element of performance to my readings, along with humorous anecdotes. Part of that growth process meant watching myself
on video giving readings. Another part meant being more careful about my selection of material and how long I read. Now, most people come away from one of my readings entertained, and I generally see comments on blogs afterwards along the lines of “Wow — that guy really put on a good show.”

Not only will you remove stress from your life by confronting some of your weaknesses and gray areas head-on, you’ll also learn a lot in the process. Like anything else in your Public Booklife, you just have to approach it systemically and incrementally.

The Discovery Process: Exploring Strengths and Weaknesses


(Me, reading at a bookstore in San Diego. Doing public events used to be a real problem for me because I’m a natural introvert. Photo by Keyan Bowes.)

This week, we’ll focus on self-discovery as a vital component of a writer’s career and your Public Booklife. Wednesday, I’ll discuss strategies for improvement as a way to minimize the kinds of stress that actually take away from creativity in your Private Booklife.

It’s certainly possible that in the distant past you did not need to promote your work. It’s possible that in the past all writers needed to do is turn in the manuscript and let the reviews, the interviews, and the incoming royalty checks wash over them. But today, unless you’re Salman Rushdie, Stephen King, or Margaret Atwood, you do need to be able to promote your work. Even if you have a contract with a major publishing house, you will need to coordinate some efforts with that publisher’s publicity department. You will need to become accustomed to the uncomfortable feeling that you are somehow being less than true to your core creativity while out hawking your wares.

For this reason, you need to find the level and the type of engagement that makes sense for you and your life. You need to be able to reflect your true personality, you need to find strategies that suit what you’re “selling,” and you need to find ways to separate your writing from your promotional efforts.

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